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The Georgian era is an unusual period in England’s music
history. The early and mid-eighteenth century prospered artistically,
with the likes of Handel, Boyce and Arne and a whole host of visiting
foreign musicians making London one of the most cosmopolitan musical centres
in Europe. As soon as the half-way point of the century was reached, if
we are to believe what history books omit, then music stopped, apart from
the occasional reference to the fact that Mozart admired J. C. Bach. This
disc of domestic chamber music performed by Charivari Agréable
presents some of the music that filled that void in the history books,
using the circle of musical acquaintances surrounding Thomas Gainsborough
as a structure for the programme. This idea works well as Gainsborough
was an enthusiastic amateur musician who cultivated numerous friends in
musical circles and left various written references to his activities
in this field.

One of the highpoints of this recording, both in terms
of programming and performance, is the pair of sonatas for viola da gamba
and continuo by Carl Friedrich Abel (1723-87) with which the disc opens
and closes. The ‘flatmate’ of J C Bach, Abel deserves to be better known,
although some of his symphonies have appeared on disc and are well worth
hearing. As a virtuoso of the viola da gamba, an instrument already well
past its prime of popularity, Abel was always in a no-win situation, in
his own day and ours. However, he was an admirable composer who not only
knew how to exploit the peculiarites of his own instrument, but had also
an assured melodic gift. Susanne Heinrich plays these with appropriate
verve in the fast movements and a delicate richness of timbre in the slow
movements. The accompaniments employ a small organ or harpsichord and,
at various times a mandora (see the cover illustration; the small instrument
which Mrs Thicknesse is holding is the ‘English Guitar’ a related and
popular instrument) or a 13 course baroque lute. This writer wonders whether
the guitar would not have been a more appropriate choice for the period
- especially for accompaniment.

The middle of the programme provides various arrangements
of popular songs and dances, many for unaccompanied gamba or lute. The
lute pieces by Rudolf Straube (1717-1778) show him to be the lute equivalent
of poor neglected Abel. Although he apparently studied with J S Bach in
Leipzig, Straube’s music is only ‘interesting’ at best. These song arrangements
and dances are nice enough pieces on their own, but are rather light-weight,
and somewhat similar in tempo and mood for presentation in this quantity.
However, the performances are fine, Susanne Heinrich again demonstrating
a richly varied command of the dynamics, textures and colours available
from her viol da gamba.

Of particular interest, and the other highpoint of this
disc, is the inclusion of a keyboard sonata by J C Bach played on an original
Kirkman harpsichord of 1776. (All the other instruments are modern copies.)
In this day and age, when many museums are moving towards a policy of
‘silent’ collections of instruments it is quite marvellous to hear the
actual sounds of a period instrument. Back in the 70’s virtually anyone
could borrow an original instrument from a museum to make a recording.
A few well publicised disasters and authorities started to think again.
At least there are still reasonable numbers of keyboard originals working
and the sheer beauty of sound shown in this sonata demonstrates why Kirkman
is still so highly regarded. This instrument appears to be in private
(and very lucky) ownership.

This is an interesting collection of pieces from a period
that has been unjustly neglected and the programming idea and performances
are both imaginative. The overall result however, is rather variable,
and this writer ends up feeling a little disappointed that the disc was
not just a programme of Abel or J C Bach sonatas; meaty works for gamba
and that wonderful harpsichord. Now that would be something to
look out for if Charivari Agréable were to rise to the challenge.

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